Roundup: Andrew Wyeth’s Pentecost, moon in a cathedral, dandelion wishes, and more

VISUAL MEDITATION: Pentecost by Andrew Wyeth, written by Victoria Emily Jones: In 2017 I took a day trip up to Chadds Ford, Pennsylvania, to attend the major Andrew Wyeth retrospective organized by the Brandywine River Museum of Art. Though some critics dismiss him as a “regional nostalgist” who, in sticking to realism, failed to keep with the times, I was enthralled by his hundred-plus paintings on display, not least of which was Pentecost. Created in 1989, it shows a pair of old fishing nets blowing in the wind on the Maine island his wife purchased and revitalized. Wyeth was not religious, but he was fascinated by the supernatural, and his paintings are often celebrated for their spiritual quality, for the sense of presence they evoke. Click on the link to read my reflection on this painting, named after the annual Christian feast that the church celebrates today (June 9) in honor of the Holy Spirit’s descent.

Pentecost by Andrew Wyeth
Andrew Wyeth (American, 1917–2009), Pentecost, 1989. Tempera with pencil on panel, 20 3/4 × 30 5/8 in. Private collection. Photo © Artists Rights Society (ARS).

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SONG: “Come, Holy Ghost,” arranged and performed by Nichlas Schaal and friends: The ninth-century Latin invocation “Veni Creator Spiritus,” attributed to Rabanus Maurus, has been translated into English more than fifty times since the English Reformation, under such titles as “Come, Holy Ghost, our souls inspire” and “Creator Spirit, by whose aid.” Originally seven verses sung in Gregorian chant, the hymn is usually condensed to four verses in modern hymnals and paired with one of three tunes. This super-fun arrangement by the Schaals, so full of joy (and “la-da-da-das”!), uses a nineteenth-century translation by Edward Caswell and tune by Louis Lambillotte. I’ve been listening to it on repeat all week as I’ve been gearing up for Pentecost. [HT: Liturgy Letter]

Come, Holy Ghost, Creator blest,
And in our hearts take up thy rest;
Come with thy grace and heav’nly aid
To fill the hearts which thou hast made,
To fill the hearts which thou hast made.

O Comforter, to thee we cry,
Thou heav’nly gift of God most high,
Thou fount of life, and fire of love,
And sweet anointing from above,
And sweet anointing from above.

O Holy Ghost, through thee alone
Know we the Father and the Son;
Be this our firm unchanging creed,
That thou dost from them both proceed,
That thou dost from them both proceed.

Praise we the Lord, Father and Son,
And Holy Spirit with them one;
And may the Son on us bestow
All gifts that from the Spirit flow,
All gifts that from the Spirit flow.

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DANCE PERFORMANCES: Grounds That Shout!, curated by Reggie Wilson: It interests me to see how sacred spaces, especially Christian ones, inspire new artistic creations. Here’s one example from last month: “Curated by award-winning choreographer Reggie Wilson, Grounds that Shout! (and others merely shaking) is a series of performances that respond to the layered histories of Philadelphia’s religious spaces through contemporary dance, reflecting on the relationships and connections between practices of movement and worship. Over two weeks, eight choreographers and performance groups . . . perform[ed] in four historic Philadelphia churches, drawing from site and spirit to present original and re-situated works of dance.”

For “Souls a-Stirring” by Germaine Ingram, two female dancers shuffled around the large stone baptismal font at Church of the Advocate, sounding out rhythms as Ingram joined them and sang, “When temptation calls out to me / When dark clouds merge and follow me / I ask god to take my hand / Can he not / Can she not / Inspire a woman to teach God’s love?” Photo: Daniel Kontz/Hyperallergic.

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ART INSTALLATIONS

Museum of the Moon at Ely Cathedral: Today’s the last day to see Luke Jerram’s Museum of the Moon installation at Ely Cathedral in Cambridgeshire, a twenty-three-foot replica of the moon that utilizes high-resolution NASA satellite imagery and a sound composition by Dan Jones. The internally lit spherical sculpture hovers under the cathedral’s painted nave ceiling and is the main attraction of the cathedral’s science festival, “The Sky’s the Limit,” celebrating the fiftieth anniversary of the first moon landing (July 16, 1969). Jerram has produced several moons, which are touring the world, hoisted up in churches and other spaces, indoor and outdoor. For some really stunning photos as well as a tour schedule, check out https://my-moon.org/.

Museum of the Moon by Luke Jerram
Installation view of Luke Jerram’s Museum of the Moon at Ely Cathedral, May 2019. Photo: Joe Giddens/Press Association.

Jerram has also created replicas of Earth, scaled down by a factor of 1.8 million and titled Gaia. They are currently being displayed inside Salisbury and Liverpool cathedrals and will thereafter continue their world tours. (The bronze font by William Pye at Salisbury, designed to reflect and extend the surrounding architecture, makes for some truly amazing photographs of Gaia! Not to mention the significant meaning generated by the interaction of the two.)

Dandelions by The Art Department: From May 11 to 12, a decommissioned building at the Laguna Bell electrical substation in Commerce, California, was transformed into a “wish-processing facility,” where visitors submitted their wishes for questioning and analysis before taking a dandelion and blowing its seeds down a chute. Part installation, part performance, Dandelions was put together by the anonymous collective The Art Department. When asked to define wish, the collective replied, “For some, a wish is a prayer fulfilled by a higher power. For some, a wish is an aspiration imbued with rational optimism. For some, wishes represent unfulfilled longing.”

Art often gives us occasion to confront who we are and what we desire, and with this piece, that was done in a playful way, with a mock bureaucracy that included the Department of Small Things That Float and various logistical assessments. View more photos and read an interview with the creators at My Modern Met, and see also the Hyperallergic review.

Dandelions
Photo: Michèle M. Waite, courtesy of The Art Department
Dandelions installation
Photo: Michèle M. Waite, courtesy of The Art Department

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EXHIBITION: “Renewal: Icon Paintings by Lyuba Yatskiv”: Through June 30, the Iconart Contemporary Sacred Art Gallery in Lviv, Ukraine, is hosting a solo show of new work by Lyuba Yatskiv, one of the country’s several experimental iconographers. Among the subjects on display are the Creation of the World (he’s got the whole world in his hands!), Noah’s Ark, David the Psalmist, the Annunciation, the Flight to Egypt, John the Baptist, and the Holy Women at the Tomb.

Creation of the World by Lyuba Yatskiv
Lyuba Yatskiv (Ukrainian, 1977–), Creation of the World, 2019. Acrylic and gold on gessoed board.
John the Baptist triptych by Lyuba Yatskiv
Lyuba Yatskiv (Ukrainian, 1977–), St. John the Forerunner, Angel of the Desert, 2019. Acrylic and gold on gessoed boards.

I’ve featured Yatskiv’s work several times before on this website: in an Artful Devotion, a compilation of baptism icons, a roundup, and here by association.

Roundup: Sacred poetry, “Shifting the Gaze,” the Birchwood Painters, new films, and more

TGC ARTICLE: “18 Paintings Christians Should See”: The Gospel Coalition Arts & Culture editor Brett McCracken has rounded up fourteen arts professionals to each choose an artistically and theologically significant painting and write about it in 200 words or less—and I’m one of them! I chose Caravaggio’s The Incredulity of Saint Thomas, which shows that famous encounter between the “doubting” disciple and the risen Christ. Here Thomas literally puts his finger on the flesh-and-blood reality of the resurrection, and you can see the marvel in his face.

Caravaggio_Incredulity of Thomas
Caravaggio (Italian, 1571–1610), The Incredulity of Saint Thomas, 1601–2. Oil on canvas, 107 × 146 cm (42 × 57 in.). Sanssouci Picture Gallery, Potsdam, Germany.

Other selections in the article range from medieval manuscript illuminations and Dutch Golden Age portraits to pop art and abstract minimalism. You might recognize the names of some of the contributors whom I’ve featured before on Art & Theology, like Jonathan A. Anderson, Matthew J. Milliner, W. David O. Taylor, and Terry Glaspey—they have all been influential to me. I’m very encouraged to see this major evangelical website engaging with visual art.

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POEMS: “Featured Poet: Laurie Klein”: In this post from Abbey of the Arts, poet Laurie Klein introduces herself, discussing the sacred themes in her work and her approach to writing poetry, as well as sharing three of her poems: “How to Live Like a Backyard Psalmist,” “I Dream You Ask, But Where Do I Start,” and “Poem for Epiphany.” All three are wonderfully evocative, and I’m definitely going to check out her collection, Where the Sky Opens. The first poem references St. Kevin of Glendalough, a sixth-century Celtic monk whose hand outstretched in prayer once became a nesting place for a blackbird. The poem is about how to live a life of joy, wonder, and praise, and it begins,

Wear shoes with soles like meringue
and pale blue stitching so that
every day you feel ten years old.
Befriend what crawls.

Drink rain, hatless, laughing.

Sit on your heels before anything plush
or vaguely kinetic:
hazel-green kneelers of moss
waving their little parcels
of spores, on hair-trigger stems.

[Read more]

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ARTISTS GROUP AT BIRCHWOOD: The Birchwood Painters, founded in 2009, is a group of painters with disabilities who live at Birchwood care home in Chesham, Buckinghamshire, in England, exhibiting locally and in an annual art show at Birchwood. One of the members is Mark Urwin, who has cerebral palsy and uses a wheelchair. Mark loves studying art history, especially the impressionists. Landscapes are his favorite genre to paint, but he also interprets religious works by the Old Masters—like Simone Martini and Lippo Memmi’s Annunciation, or Leonardo da Vinci’s Last Supper—in his own semiabstract style, using bright swaths of color. In 2016 Mark gave a lecture on his work at the Royal Academy of Arts in London.

Urwin, Mark_Annunciation (after Martini)
Mark Urwin (British), Annunciation (after Martini and Memmi), 2013. Painting on canvas, 30 × 25 cm.
Urwin, Mark_Last Supper (after Leonardo)
Mark Urwin (British), Last Supper (after Leonardo), 2013. Painting on canvas, 25 × 75 cm.

Mark uses an easel that was specially designed for him by DEMAND (Design and Manufacture for Disability) to enable greater freedom and control in his creations. Whereas before, an art class volunteer had to hold Mark’s canvas, making certain angles to paint more awkward, the DEMAND easel improves canvas access, as the canvas can be positioned in any orientation to Mark, with the bulk of his electric wheelchair no longer posing a problem. Furthermore, he can keep his talk board on his lap so that he doesn’t lose his voice while painting.

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EXHIBITION-IN-PROGRESS: “Exhibition to Examine Balthazar, a Black African King in Medieval and Renaissance European Art”: “Early medieval written legends report that one of the three kings who paid homage to the Christ Child in Bethlehem was from Africa. But it would take nearly 1,000 years for European artists to begin representing Balthazar, the youngest of the three kings, as a black man. Why? . . .

“Delving into the Getty’s collections, we are at work on the exhibition Balthazar: A Black African King in Medieval and Renaissance Art (November 19, 2019–February 17, 2020). We are examining how Balthazar’s depiction coincided with and was furthered by the rise of the slave trade—and we invite your input to inform the exhibition. What questions or ideas do you have about this topic? What stories or themes would you like to see explored? We are eager to incorporate your views into our process.”

Balthazar detail
Detail of The Adoration of the Magi from a French Book of Hours (Ms. 48, fol. 59) showing the magus Balthazar (right), ca. 1480–90, by Georges Trubert. J. Paul Getty Museum, Los Angeles.

In this post from the Getty’s blog, The Iris, in addition to finding out how to relay feedback, learn about who the Magi were, what tradition says about them, and the development of Balthazar’s image over time.

(Further reading: “Carol of the Brown King” by Langston Hughes)

I appreciate the Getty’s efforts to be more inclusive in the visual histories they highlight and to solicit input from the general public to assist them in this task. They did the same for their 2018 exhibition Outcasts: Prejudice and Persecution in the Medieval World.

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TED TALK / LIVE PAINTING: “Can Art Amend History?” by Titus Kaphar: American artist Titus Kaphar reconfigures historical artworks—through cutting, bending, overpainting, stitching, tarring, and tearing—to include African American subjects. In this thirteen-minute presentation before a live audience, Kaphar opens by sharing the words his young son spoke upon seeing the famous equestrian statue outside the Natural History Museum in Manhattan, which has Teddy Roosevelt up high on a horse, flanked by a Native American and an African lower down, on foot—which can easily be read as establishing a racial hierarchy.

Kaphar goes on to discuss some of his own encounters with Western art history and his mission to bring black figures out of the shadows of that tradition. He demonstrates this with a reproduction of Family Group in a Landscape by the Dutch master Frans Hals, which shows a wealthy white family of four with their young black servant.* More has been written, Kaphar laments, about the lace the wife is wearing and the dog at the right of the picture than about the black youth who stares straight out at us. This claim did surprise me somewhat—and then I visited the museum website, only to find that their six-paragraph description of the painting doesn’t mention the boy at all! By strategically applying white paint across this canvas, Kaphar forces us to “shift our gaze” and to notice the one who has typically gone unnoticed.

* “Were Those Black ‘Servants’ in Dutch Old Master Paintings Actually Slaves?”

Teddy Roosevelt equestrian statue
James Earle Fraser (American, 1876–1953), Equestrian Statue of Theodore Roosevelt, 1939. Bronze, 300 × 218 × 450 cm (10 × 7 1/6 × 14 3/4 ft.). Museum of Natural History, New York.
Kaphar, Titus_Shifting the Gaze
Titus Kaphar (American, 1976–), Shifting the Gaze, 2017. Oil on canvas, 210.8 × 262.3 cm (83 × 103 1/4 in.). Brooklyn Museum, Brooklyn, New York.

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IN THEATERS: Currently showing in theaters are two historical drama films featuring main characters whose work (in art and in activism) was famously inspired by their Christian faith: Tolkien, about the author of Lord of the Rings, and The Best of Enemies, about civil rights leader Ann Atwater from Durham, North Carolina. Both movies have received lukewarm to not-so-great critical reviews but fairly high audience ratings, and I intend to see them. I found out about the latter one through Jonathan Wilson-Hartgrove, one of the mentees of “Grandma Ann,” who prepared a group study guide to accompany the film.

Also in theaters, with rave reviews all around, is Amazing Grace, a documentary about the creation of Aretha Franklin’s best-selling gospel album of the same title, recorded over two nights in 1972 at New Temple Missionary Baptist Church in Los Angeles. The footage was recently unearthed and reassembled after almost fifty years. The resultant film has been called “wonderfully intimate,” “a raw, sensory, reverent experience,” “a transcendent joy,” “the new gold standard of filmed music concerts,” and “one of the finest music documentaries ever.”

It’s been interesting to hear secular reviewers expressing how moved they were by the film, a film that is prayer (e.g., “Precious Lord, Take My Hand”), proclamation and praise (“God Will Take Care of You”), testimony (“Amazing Grace,” “How I Got Over”), and invitation (“Give Yourself to Jesus”).

Roundup: Colorado trip; Maori hymn; Dutch tulip fields by aerial video; the magic of childhood; and more

I returned this week from a wonderful arts conference/retreat in the Colorado mountains, a much-needed time to unplug from work and engage with nature, to meet and worship with other Christians from around the country, and to reaffirm my sense of calling to online arts ministry. Eric came with me, so we took a few extra days there for scenic walks and drives, which included the Peak-to-Peak Scenic Byway, the Flatirons, the Rocky Mountain Arsenal National Wildlife Refuge, Pikes Peak, and Garden of the Gods. So much beauty! Here’s a charming little stone church we spotted outside Estes Park, built in 1939.

Chapel on the Rock (Colorado)
Chapel on the Rock (Saint Catherine of Siena Roman Catholic Chapel), Saint Malo Retreat Center, Allenspark, Colorado. Photo: Victoria Emily Jones.

We also visited the Cadet Chapel at the United States Air Force Academy, which I will share about in a separate post.

And as is my practice whenever I visit a new city, I spent time at a local art museum: the Colorado Springs Fine Arts Center at Colorado College. The size and quality of its collection exceeded my expectations, with many fine works of Native American (Pueblo, Plains, Plateau, and Great Basin), Hispanic and Spanish colonial, and twentieth-century American art. I particularly loved the santos galleries, which feature religious folk art of the Southwest, including two monumental altarpieces. Below is a retablo (panel painting) and a bulto (sculpture) from the santos tradition.

Aragon, Jose Rafael_Cristo (Crucifixion)
José Rafael Aragón (New Mexican, ca. 1796–1867), Cristo (Crucifixion), ca. 1820–35. Tempera on gessoed pine, 19 × 11 in. Colorado Springs Fine Arts Center at Colorado College. Photo: Victoria Emily Jones.
Barela, Patrocinio_Announcement of the Birth of Jesus
Patrociño Barela (New Mexican, 1902–1964), Anuncio de la Nacimiento de Jesus (Announcement of the Birth of Jesus), 1942. Cedar wood. Colorado Springs Fine Arts Center at Colorado College. Photo: Victoria Emily Jones.

José Rafael Aragón is the most highly regarded classic santero from early New Mexico, so I was already familiar with his work (note the visual influences on contemporary santero Vicente Telles, one of whose Crucifixion retablos I own). The chandeliers in Aragón’s painting are like those found in the chancels of New Mexico churches, and the vertical branches that fill the spaces between the figures are also standard elements of church decoration.

Patrociño Barela I was not previously familiar with, and I found myself so captivated by his work. (If you are too, be sure to check out this online solo show of his.) I’m not sure whether to interpret his Anuncio de la Nacimiento de Jesus as an Annunciation image, with Gabriel announcing Christ’s conception to Mary, or a Nativity image, seeing as the babe appears to be ex utero—in which case the top figure could be either an angel or God the Father. I can’t identify the object Mary is holding. (A piece of fruit?)

Lastly, here’s a unique Pietà image by the modernist painter Marsden Hartley. Could that be God the Father supporting Christ deposed from the cross? Maybe it’s Nicodemus or Joseph of Arimathea, but I rather like the thought that the Father held his Son in love during this time of his immense suffering and death.

Hartley, Marsden_Christ Evicted
Marsden Hartley (American, 1877–1943), Christ Evicted, 1941–43. Oil on board, 47 × 20 in. Colorado Springs Fine Arts Center at Colorado College. Photo: Victoria Emily Jones.

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EVENING DISCUSSION: “Idols and Taboos: Modern and Contemporary Art and Theology Today”: This free public event, consisting of two lectures and a panel discussion, will take place May 23, 2019, at 6 p.m. at the School of the Art Institute of Chicago. The presenters are James Elkins, who will be discussing the distance between avowedly religious art and the disciplines of art history, art criticism, art theory, and studio pedagogy, and Thomas Crow, who will be discussing “the generally inverse relationship between grandiosity in a work of art and its intrinsic theological import,” as well as art’s susceptibility to idolatry. A panel discussion will follow, moderated by Professor Ben Quash, and all are invited to gather afterward in the Lobby Bar of the historic Palmer House (across the street) for further socializing and conversation.

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SONG: “Oh Death”: This Easter, CCLI released a video of Kaden Slay, Melanie Tierce-Slay, and Ryan Kennedy of People & Songs performing Stephen Marti’s “Oh Death,” written in 2017. Those three-part a cappella harmonies are so sweet.

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SONG: “How Great Thou Art / Whakaaria Mai”: On March 23, the Grammy Award–winning singer-songwriter John Mayer began an extensive world tour at Spark Arena in Auckland, New Zealand. He opened the show quite unexpectedly with “How Great Thou Art,” a tribute to those killed and injured during a terrorist attack on two mosques in Christchurch, New Zealand, on March 15. [HT: Global Christian Worship]

Standing center stage for the opening was Te Wehi Haka, a Maori performing arts troupe who, to begin with, quivered their hands; known as wiri, this important Maori movement represents the world around us, from the shimmering of water on sunny days to heat waves rising from the ground to wind rustling the leaves of trees.  Continue reading “Roundup: Colorado trip; Maori hymn; Dutch tulip fields by aerial video; the magic of childhood; and more”

Roundup: Hymns for Lent; the insistence of spring; female Christian poets; prison art; summer courses

HYMNS FOR LENT: A list of fifty-plus hymns for Lent, including free sheet music downloads, compiled by Dean B. McIntyre, director of music resources at the Center for Worship Resourcing at the United Methodist Church’s Discipleship Ministries in Nashville. Most of these hymns—either their tune, their words, or both—are contemporary, and I believe they were all either written or arranged by members of the UMC. I love that so many of them are minor-key! (There’s such a dearth of minor-key hymns in my evangelical tradition.) “The Desolate Messiah Dies” is a real standout for me—WOW. Here are the others that I really like. The first three would work particularly well for a Good Friday service:

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SONG: “You Can Never Hold Back Spring” by Tom Waits, covered by Lowana Wallace: I’ve had this song on repeat for the past several weeks—Lowana Wallace’s rendition is simply gorgeous. “This cover is a tribute to Canadians in March. Winter will end, you guys,” Wallace writes. “And maybe Tom didn’t mean for this song to point Christians to the beauty of Lent leading to Easter, but it did for me.”

Lowana Wallace is a singer-songwriter from Caronport, Saskatchewan. If you’ve listened to the Porter’s Gate Worship Project’s acclaimed album Work Songs, you will have encountered her work: she cowrote the song “Day by Day.” Check out more of her music videos, a mix of covers and originals, on her YouTube channel—they’re all great! To help her make more of these, consider becoming a Patreon supporter. You can also download four of the nine tracks from her Christmas jazz album, Hymns and Carols (2009), on NoiseTrade.

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POETRY: “5 Female Poets of Faith”: March is Women’s History Month, and Jody Lee Collins has compiled a list of five women poets you should know, whose Christian faith infuses their work: Abigail Carroll, Barbara Crooker, Jeanne Murray Walker, Laurie Klein, and Marjorie Maddox. I heartily second these recommendations! For each poet, Collins has selected a representative poem, giving you a taste of their style, and has provided links to the poets’ published volumes.

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2 FILMS + ART EXHIBITION: Incarceration is the theme of two HBO movies that premiered on television last month (following a positive reception at 2018’s Tribeca Film Festival) and the tie-in pop-up art exhibition, sponsored by HBO, that ran from February 20 to 25 at Studio 525 in Chelsea, Manhattan.

Written by Stephen Belber and directed by Madeleine Sackler, O.G. is an introspective drama that follows Louis (Jeffrey Wright), who, after spending twenty-four years in prison for murder, is about to be released. Groundbreakingly, it was filmed almost entirely inside an active prison—Pendleton Correctional Facility in Indiana—with a cast made up largely of inmates and correctional officers, who also consulted on the script. Read an interview with Wright, a professional actor best known for Westworld, and one with supporting actor Theothus Carter, who is serving a sixty-five-year sentence at Pendleton. When he was offered the role of Beecher, Carter said, “I was so happy, it was like being jolted alive back from the dead. I know I’ve never been dead before, but being dead has to feel like being in prison, because here it feels like you don’t matter anymore. This made me feel like I mattered again.”

It’s a Hard Truth, Ain’t It is a companion film to O.G. that is directed by Madeleine Sackler and thirteen incarcerated men at Pendleton, who reflect on their lives and the consequences of their crimes in front of and behind the camera. When Sackler received permission from the prison to lead a filmmaking workshop for inmates, she hadn’t intended to make a documentary, but she was so moved by the depth and intimacy of the conversations that were arising in that workshop, as participants shared their personal stories, and they all decided these stories and perspectives needed to be captured on film, crafted together, and shared more widely. An animator was brought on to bring the men’s memories to life.

Coinciding with the HBO premiere of these two films was a six-day exhibition in New York City called The OG Experience, curated by Jesse Krimes and Daveen Trentman. Like the Hard Truth film, this exhibition offered an insider narrative about the US prison system, as the art was all by formerly incarcerated individuals. The pieces on display included an installation of reclaimed cafeteria trays, a re-creation of a prison cell that invited viewers to sketch on the wall with a screwdriver, a video of the artist boxing with a projection of himself, a self-portrait in pastels over legal documents, and a mural of newsprint images transferred onto prison-issued bedsheets using hair gel (a method developed, and a work begun, by Krimes while in solitary confinement).

On seeing his work on display, Krimes said, “It was really emotional because so much of that experience and what our prison system is designed to do is pretty much destroy you. It’s designed to take away your identity, it’s designed to take away your humanity, and I think in creating that work and investing myself in something meaningful, and coming home and getting to see the final thing . . . it was something that made me feel like I came out of this situation intact, like I’m still a whole human being, and that this thing did not destroy me and it did not take away who I am at my core or change me in a way that it was designed to do.” Since his release from prison, Krimes cofounded the Right of Return Fellowship to directly support formerly incarcerated artists.

I particularly like the works by Russell Craig (also), a self-taught artist from Philadelphia. In his seven-piece set of unstretched canvases, E-Val, pairs of eyes peer out hauntingly from within Rorschach blots made of ox blood; “Craig, who was given Rorschach tests as part of his psychological evaluations during his time in the foster care system, wanted to represent the trauma felt in black communities,” the exhibition text says. Another work, a self-portrait he drew over his prison documents, “symbolizes the stigma of being a criminal,” Craig explained. “No matter how much you change your life around, you’re still viewed as a criminal.”

E-Val by Russell Craig
Russell Craig (American), E-Val, 2017. Blood stains, canvas, acrylic, dimensions vary. Photo: Kisha Bari, courtesy Jesse Krimes.
Self-Portrait by Russell Craig
Russell Craig (American), Self-Portrait, 2016. Pastel over legal documents, 96 × 96 in. Photo: Jasmine Weber/Hyperallergic.

For more photos from the exhibition, see the Hyperalleric review, “Formerly Incarcerated Artists Visualize Healing.”

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SUMMER COURSES: Regent College, a graduate school of Christian studies in Vancouver, is offering six arts courses this summer—week-long intensives. The topics are prehistoric art and meaning making; George Herbert; John Bunyan’s Pilgrim’s Progress; grace and forgiveness in contemporary theater (with key scenes played out in class by guest actors from Pacific Theatre); love and longing in poetry and theology, taught by Malcolm Guite (the reading list includes Dante, Herbert, Tennyson, Eliot, Augustine, Aquinas, and Lewis); and “Moral Imagination: Peacebuilding Using the Arts.” There are no prerequisites, and you don’t even have to be enrolled as a seminary student to participate. The cost to audit is CAD$350 (about US$261), with for-credit options costing more. For more information or to register, visit the links.

Roundup: Visual lament, shalom chant, song for the displaced, unfinished art, and “Roma”

The Arts of Lament (lecture)

UPCOMING LECTURE: “The Arts of Lament” by Margaret Adams Parker: I’m one of the artistic directors of the Eliot Society, a DC-based nonprofit that promotes spiritual formation through the arts. Our next event is a lecture on April 6, 2019, by printmaker and sculptor Margaret (Peggy) Adams Parker (previously), which I’m really looking forward to.

Most especially during Lent, we recall the prominence of lament in Scripture: the psalms of lament; David’s lament for Jonathan; the Lamentations of Jeremiah; Christ’s lament over Jerusalem. These laments bear witness to outrage, sorrow, suffering, fear, desolation. And through these passionate cries, the biblical authors allow us to experience and express—in God’s holy presence—our own stories of brokenness and loss.

The visual arts make these laments visible. In this program Parker will present images by Grünewald, Rembrandt, Goya, Käthe Kollwitz, Jacob Lawrence, and others, as well as some of her own work. We will ask, How might these depictions of the horrors of war, displacement, oppression, sickness, and death enlarge our appreciation of the scriptural laments and in turn illuminate our understanding of suffering? Further, we will explore the spiritual significance of the practice: how lament might ultimately serve to console and strengthen, helping to lead us out of dark places into the light.

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SHALOM CHANT: At the 2019 Brehm Conference, “Worship, Theology, and the Arts in a Divided World,” liturgist Julie Tai led attendees in a group chant of the word shalom, an exercise she picked up from the author, speaker, psychotherapist, songwriter, and Episcopal priest Ian Morgan Cron. I streamed in from afar, and even from this distance, I found it really moving. “Really think about the places and spaces that need shalom—shalom meaning not our flat language of just ‘peace,’” Tai said by way of preface. “It’s an embodied word, a disruptive word. And we don’t get to see the completeness of shalom until all of us are at the table.” She instructs that after chanting shalom in unison three times, everyone is to find a note, any note, and sing it. Dissonance is welcome. The thick texture and distinctive timbre that result are possible only because each and every person is contributing their unique selves. The exercise is about listening to your neighbor, seeing your neighbor, and praying for and committing to pursuing shalom, wholeness, in this world. It expresses, in community, a shared hope and intention.

Chanting is a practice found in almost all spiritual traditions. Through rhythmical repetition, a word or short phrase washes over you and settles into the mind. When done in a group, everyone’s biorhythms become synchronized; individual breaths and sound vibrations unite, a physical manifestation of a spiritual communion.

“Julie Tai is the director of chapel at Fuller Theological Seminary. She received a BA in Asian American Studies and studied vocal jazz at UCLA before earning an MA in Intercultural Studies from Fuller. She is a songwriter, worship leader, and liturgist who loves to explore creative and integrative ways to engage diverse people in worship. A proud second-generation Korean American, Julie has led worship experiences at Urbana, the Calvin Worship Symposium, and SIM’s Global Assembly. She passionately trains worship leaders, seminarians, and pastors to see liturgy as a unifying and artistic act of justice . . . the reordering of glory, honor, and praise to the One seated on the throne.” [source]

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NEW SONG: “Jesus, See the Traveler” by Sara Groves: “I wanted a way for Ruby [my daughter] and me to remember the number of people who are on the road, displaced and wandering on any given night,” said Sara Groves about this new song she wrote. “Due to war and violence, there are more displaced people right now than any other time in history, and I want to be in the number who are responding in love—both in person in my community, and in my music.” The official music video is below; purchase the single on iTunes or stream on Spotify. [HT: Tamara Hill Murphy, A Sacramental Life]

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ARTICLE: “Art Interrupted” by Sophie Haigney: Unfinished artworks, like La Sagrada Familia (whose architect was hit by a tram when the cathedral was only a quarter of the way done) or Elizabeth Shoumatoff’s famous FDR portrait (the president slumped over mid-portrait-sitting and died of a brain hemorrhage), are reminders of our mortality. [HT: Michael Wright, Still Life]

La Sagrada Familia
Cranes hover over the spires of La Sagrada Familia in Barcelona, whose construction began in 1882 under architect Antoni Gaudí and is still going on.

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PODCAST EPISODE: “Roma,” Sunday Morning Matinee, January 22, 2019: To help me think more deeply and articulately about movies, I appreciate the work of, among others, Sunday Morning Matinee (formerly Technicolor Jesus), hosted by Matt Gaventa and Adam Hearlson. Back in January they discussed a movie that was one of my favorites of 2018, which is Roma, written, directed, and shot by Alfonso Cuarón. Set in the Colonia Roma neighborhood of Mexico City in the early ’70s, it focuses on Cleo (played by newcomer Yalitza Aparicio), a Mixtec domestic servant for a middle-class family. It was a very personal project for Cuarón, who based the character of Cleo on the real-life nanny who helped raise him, Liboria “Libo” Rodríguez.

Roma film still
This still frame from Roma captures a climactic moment of shared intimacy as Cleo (center), grieving a recent trauma, receives love and support from the family she works for.

“As artists, our job is to look where others don’t,” Cuarón said in his acceptance speech last month for the Academy Award for Best Director. (The movie also won Best Foreign Language Film and Best Achievement in Cinematography.) As an adult, Cuarón looked back and realized that Libo had another life, both internal and external, that he had not been aware of as a child, and this is his way of honoring Libo’s beautiful complexity. This podcast episode discusses the opening and closing shots of the movie, water symbolism, the contrast of the terrestrial and the heavenly, the role of memory, Cleo’s interiority and who gets access to it, the possibilities and limits of employer-employee relationships, and more.

Click here to listen to the podcast episode.

Roundup: Culture care, top 10 movies of 2018, new Lent songs, and more

MORE ARTS CONFERENCES: I added two more April conferences to my recent post on spring arts events: “Sacrament & Story: Recasting Worship Through the Arts” in the Pacific Northwest and “Majesty: An Art & Faith Incubator” in Nelson, New Zealand. Check them out! https://artandtheology.org/2019/01/17/upcoming-conferences-and-symposia/

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ESSAY: “Makoto Fujimura and the Culture Care Movement” by Victoria Emily Jones (that’s me): Japanese American artist, author, and lecturer Makoto Fujimura has been at the forefront of the “culture care” movement for the past decade, whose aim is to love and to nourish culture rather than to war against it. This essay is an introduction to Mako’s teachings on the subject, as well as to a few of his major painting projects. He’s such a refreshing voice for evangelicalism, witnessing to the goodness of God’s creation and cogently articulating the Christian calling to be stewards of that goodness. YouTube and Vimeo are chock-full of Mako interviews, lectures, panel discussions, and short films. Here’s just one, to give you a taste of the work he’s doing—in it he describes some of the themes in his book Silence and Beauty, including the experience of personal “ground zeroes.”

I saw some of Mako’s paintings in person last year at the Museum of the Bible in Washington, DC. It was a quiet day in the gallery, so I had the privilege of being alone with them—those finely pulverized precious minerals and flecks of gold dancing abstractly across the canvases. Photographs really cannot do the works justice, but regardless, here’s a detail shot I took of In the Beginning, which Mako painted as a frontispiece to the Gospel of John for the Four Holy Gospels project commissioned by Crossway.

In the Beginning (detail) by Makoto Fujimura
Makoto Fujimura (American, 1960–), In the Beginning (detail), 2011. Mineral pigments and gold on Belgium linen, 60 × 48 in. Photo: Victoria Emily Jones.

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TOP TEN MOVIES: “Favorite Films of 2018: The Top Ten” by Jeffrey Overstreet: The Oscars are tonight, and lots of writers have already published their “top 10” lists in anticipation. One film critic, a Christian, whom I really respect is Jeffrey Overstreet [previously]—I love the way he talks about film. He started writing movie reviews in the nineties after realizing how most reviews by Christians were simply long lists of ways in which the movie might offend us. He wanted to go deeper.

“When we focus on the dangers of moviegoing, it can distract us from the purpose and the strengths of storytelling, and from the fact that we are encountering someone else’s perspective on the world,” he said in a 2007 interview. “If we treated people the way we treated movies in the past, we would shy away from them because of some particular aspect of their lifestyle or personality. I think engagement is a much healthier approach. We should avoid imitating bad behavior, but we should be open to engaging with, listening to, and understanding our neighbors through their art.”

I’ve seen only three of his top ten recommendations for 2018 but am adding a few of the others to my watchlist. His number ten, Private Life, was a favorite of mine too, certainly one of the most memorable, most wrenching movies I watched all year. It’s on Netflix.

For another “top 10” list, see the one compiled by the Arts and Faith Ecumenical Jury, a body of film critics and cinephiles seeking “to enlarge or expand the perception of what is meant by either labelling a film a ‘Christian’ film or suggesting that it should be of interest to Christian audiences.”

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NEW BOOK: Were You There? Lenten Reflections on the Spirituals by Luke A. Powery: “Valuable not only for their sublime musical expression, the African American spirituals provide profound insights into the human condition and Christian life. Many spirituals focus on the climax of the Christian drama, the death and resurrection of Jesus Christ, and the ways in which those events bring about the liberation of God’s people. In these devotions for the season of Lent, Luke A. Powery leads the reader through the spirituals as they confront the mystery of Christ’s atoning death and victory over the grave. Each selection includes the lyrics of the spiritual, a reflection by the author on the spiritual’s meaning, a Scripture verse related to that meaning, and a brief prayer.”

Published last month, this book is a follow-up to Powery’s popular Rise Up, Shepherd! Advent Reflections on the Spirituals (2017). I’m a big proponent of liturgically themed devotionals that utilize the arts as a resource (for others for Lent, see last year’s roundup), so this title stood out to me when I saw it in a magazine ad. Using Spotify or some other music-streaming service as a companion while going through the book is, I’d imagine, a must, as the power of the spirituals lies largely in their expressive vocal deliveries.

Were You There? by Luke A. Powery

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NEW ALBUM: Lent by Liturgical Folk (previously here and here): Liturgical Folk’s fourth album is now out! Featuring the vocals of Lauren Plank Goans (of Lowland Hum), Liz Vice, Josh Garrels, and Ryan Flanigan, Lent comprises ten original songs that extend from Ash Wednesday to Holy Saturday and that are inspired by the Book of Common Prayer. As always, the songs are lyrically rich and musically interesting, and I appreciate the inclusion of guest vocalists this time around, as each voice brings a unique quality. You can purchase the album on Bandcamp; devotional e-book and lead sheets are sold separately. You’ll also want to check out the group’s upcoming tour dates in the western US.

On Wednesday I posted a song about delighting in the Lord by Luke Morton; here’s one on the same theme, but with a decidedly Lenten tone, conceding human weakness:

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NEW MEDLEY: “Smile / I Smile” by Sara Niemietz and W. G. Snuffy Walden: This medley combines new arrangements of Charlie Chaplin’s melancholic pop standard “Smile” with the upbeat modern gospel song “I Smile” by Kirk Franklin. The former is an absolutely beautiful melody, which Chaplin composed for the final sequence of his 1936 semi-talkie Modern Times (one of my favorite films ever). The two main characters—the “tramp” (Chaplin) and the “gamin” (Paulette Goddard), a homeless couple—walk down a dusty road together into a sunrise. The whole movie they’ve been scraping and scrounging to get by, having endured unemployment, hunger, a mental breakdown, prison, family separation, and police harassment. Goddard’s character is ready to throw in the towel, but Chaplin encourages her to keep on going, that they’ll make it through.

In 1954 John Turner and Geoffrey Parsons added lyrics to Chaplin’s melody based on lines and themes from the film, creating the song that we all know today. While I could quibble with the admonishment to “hide every trace of sadness” and the like, as if we must push down the very real pain that we feel, I recognize that ultimately, the song is about hope, about pushing through darkness into the light.

By pairing this song with Franklin’s “I Smile” (2011), Niemietz locates that hope in God, who showers us with “Holy Ghost power.” The speaker acknowledges that “it’s so hard to look up when you’ve been down,” and asks God where is the love and joy he promised? It’s dark in my heart, he laments, no blue skies in sight, but regardless, he smiles, because “I know God is working.” This sentiment echoes Paul’s call to “rejoice always” (1 Thess. 5:16) and to be content in all circumstances (Phil. 4:11). I’d say that even if we can’t muster a literal smile when life hurts, it’s OK; what’s more important is that we develop an inner bending toward joy, a heart-smile, which trusts that God holds us in his love and carries us in his power.

Purchase the single on iTunes or wherever music is sold; also available on Spotify. [HT: Global Christian Worship]

Roundup: Raban Maur, comic books, and more

SEMINAR: “The Language of Grace? The Action of God’s Love in Poetry and Art”: On February 6 at 6 p.m., as part of the Catholicism and the Arts York initiative, St. Wilfrid’s Church in Duncombe Place, York, will be hosting back-to-back talks: “Grace and the Poetics of David Jones” by Dr. Elizabeth Powell and “Full of Grace? The Desire of Art for God” by Katherine Hinzman.

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ALBUM FUNDRAISER: Love Secrets by John Mark Pantana: I really enjoyed Pantana’s 2017 debut album, Mighty Grace, so I jumped at the opportunity to support his next project on Indiegogo: Love Secrets. His voice is so soothing! So are his original lyrics, all about God’s love and grace. Visit him at https://www.johnmarkpantana.com/, and listen to one of the songs from his upcoming album, “Abba,” below. Fundraising campaign ends February 9.

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EXHIBITIONS

I love the curatorial approach of these two current exhibitions, which bring art from the Middle Ages or Renaissance into conversation with contemporary art. Rather than doing this to prove a disjunction sparked by modernity, the curators stress continuity between the artists of yesterday and today.

“Make It New: Conversations with Medieval Art,” Bibliothèque nationale de France (National Library of France), Paris, November 5, 2018–February 10, 2019: Curated by Dutch artist Jan Dibbets, “Make It New” explores the relationship between works of contemporary art and the medieval art of Raban Maur (Hrabanus Maurus), a ninth-century monk from Fulda, Germany, and a major figure of the Carolingian renaissance. The centerpiece of the exhibition is Raban Maur’s De laudibus sanctae crucis (In Praise of the Holy Cross), a Latin manuscript comprising twenty-eight highly sophisticated poems whose letters are arranged in simple grids over colorful, geometric cross patterns. At the BnF, these compositions are placed in dialogue with thirty-plus works by some of today’s minimalist, conceptual, and land artists, including Sol LeWitt, Carl Andre, François Morellet, Niele Toroni, and Franz E. Walther, stressing similarities in form, color, proportion, and perspective. [press release (English)] [compilation of Maur images]

The original figure poem cycle was produced around 810 at the scriptorium in Fulda, and Raban Maur had a hand in making at least five other copies during his lifetime (of which France’s National Library owns two: Lat. 2423 and Lat. 2422); seventy-four additional copies from the Middle Ages are extant. The Burgerbibliothek Bern in Switzerland has digitized its early eleventh-century copy (Cod. 9), and it’s really fascinating! Full-resolution downloads are enabled. According to the Benedictine abbot Odilo of Cluny, “no work more precious to see, more pleasing to read, sweeter to remember, or more laborious to write can or could ever be found.” I don’t know Latin, but visually, I can really appreciate these fine pages. I was hoping to find more information about the work but could really only find a single French lecture given back in 2007 by Denis Hüe, a professor of medieval and Renaissance language and literature at the Université Rennes 2 Haute-Bretagne.

In Praise of the Holy Cross by Raban Maur
Figure poem by Raban Maur, Fulda, Germany, ca. 822–847. BnF Lat. 2422, fol. 10v.
In Praise of the Holy Cross by Raban Maur
Figure poem by Raban Maur, Fulda, Germany.
Untitled by Sol LeWitt
Sol LeWitt (American, 1928–2007), Untitled, 1970. Ink on paper. © Adagp, Paris.
Work Drawing by Franz Erhard Walther
Franz Erhard Walther (German, 1939–), Werkzeichnungen (Work Drawing), 1967. Watercolor, ink, and pencil on paper. © Adagp, Paris.

“Bill Viola / Michelangelo: Life, Death, Rebirth,” Royal Academy of Arts, London, January 26–March 31, 2019: When pioneering video artist Bill Viola saw a collection of Michelangelo’s exquisite drawings at Windsor Castle in 2006, he was astonished by the Renaissance master’s expressive use of the body to convey emotional and spiritual states. Here the two artists are exhibited side by side, showing their common grappling with life’s fundamental questions, albeit in vastly different mediums. “Both artists harness the symbolic power of sacred art, and both show us physical extremes and moments of transcendence.” Among the twelve major installations from Viola, spanning his career, is Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), a sixteen-foot-high projection depicting the ascent of the soul after death.

For February 16, the Royal Academy has organized a full day of events keyed to the exhibition, including poetry readings, a documentary screening, and a panel discussion with cultural historian Marina Warner, theologian Ben Quash, and artist Mariko Mori, titled “Art as fulfilment: the use of religion and spirituality in contemporary art.” Questions for the day include: Does art connect us? Can art be transformative or transcendental? Can art influence society—that is, change opinions or human behavior? Other offerings in addition to this program are a curator’s introduction on February 1, a short course on figure drawing, and a talk on the limitations and opportunities of digital art. Plus, the London Art Salon is hosting a talk on the exhibition by art historian Marie-Anne Mancio.

Tristan's Ascension by Bill Viola
Bill Viola (American, 1951–), Tristan’s Ascension (The Sound of a Mountain Under a Waterfall), 2005. Video/sound installation. Performer: John Hay. Photo: Kira Perov. Courtesy Bill Viola Studio.
The Risen Christ by Michelangelo
Michelangelo Buonarroti (Italian, 1475–1564), The Risen Christ,” ca. 1532–33. Black chalk on paper, 37.2 × 22.1 cm. Royal Collection Trust, UK.

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NEW COMIC BOOK PUBLISHER: Cave Pictures Publishing, founded in fall 2018 by Mark Rodgers, is committed to the telling of “modern myths” that “speak to the soul” through comic books in the genres of action-adventure, sci-fi, historical fiction, and fantasy. Pitched for the spiritually inclined, the stories they publish “seek to make sense of our world . . . draw us toward the source of goodness . . . uncover what we worship.” Says Rodgers in a Hollywood Reporter interview: “Just as cave paintings were humanity’s initial attempt to process through the tough ultimate questions of human existence, we look at our stories as ‘sherpas of the soul,’ to contribute to the individual and collective human journey towards meaning and a greater reality,” the One True Myth. Read more about the company’s influences and aspirations in this Convivium essay. See also the interview in Sojourners.

The Light Princess (Cave Pictures Publishing)

One of their five inaugural series is The Light Princess, an adaptation of one of George MacDonald’s best-loved fairy tales, about a princess who is cursed with weightlessness and is only brought down to earth by a true, sacrificial love. MacDonald was a Scottish author, poet (e.g., here, here, and here), and Christian minister who deeply influenced C. S. Lewis and J R. R. Tolkien. Speaking of Tolkien, I’m really digging this quote of his on Cave Pictures’ website, which affirms the value of story: “Legends and myths are largely made of ‘truth,’ and indeed present aspects of it that can only be received in this mode. . . . Long ago certain truths and modes of this kind were discovered and must always reappear.”

Roundup: Sister Wendy, Quaker Skyspace, Bach on the street, and more

OBITUARY: “Sister Wendy Beckett, Nun Who Became a BBC Star, Dies at 88”: A nun since the age of sixteen, Sister Wendy spent most of her life living in silence in a windowless trailer on the grounds of the Carmelite monastery in East Anglia, England. She read voraciously about art but had never set foot in a museum or seen any great paintings in person—until in 1991, a BBC producer persuaded her to do a documentary about the paintings in London’s National Gallery. She agreed, thinking it would be a flash in the pan, but it was very successful, and so throughout the nineties she presented several other documentaries on the history of art, including Sister Wendy’s Odyssey, Sister Wendy’s Grand Tour, and Sister Wendy’s Story of Painting. She quickly became the world’s best-loved art critic, as her unscripted commentaries, so full of wonder and enthusiasm, connected well with the general public, making high art accessible. She also authored some thirty-five books.

Sister Wendy

“One of the ways, for me, of looking at God is by looking at art,” she says in the intro to Odyssey. Not that art is God but that art can lead us to a deeper understanding of who, and Whose, we are.

Sister Wendy was a major influence on my path to becoming a writer on Christianity and the arts. I first encountered her in high school through her Story of Painting series, which a studio art teacher made our class watch excerpts from. This was my entrée into art history, a subject that captivated me then and that inspired me to pursue some such coursework in college, including a semester abroad in Florence, Italy. Without this initial incitement of interest from Sister Wendy, I doubt I would be writing about art today.

What attracts me to her is what attracts most people: her utter joy and rapture as she discusses art. She is the first person who taught me how to look at a painting and read it. I appreciate her charitable stance toward modern and contemporary art (movements that large swaths of Christians reject), and her unabashed delight in the nude body. Over the years, people have tended to be either amused or shocked, or both, by her frankness in talking about sexuality in art, but she was always insistent on the goodness of the human body and of sex. When Bill Moyers asked her back in 2000 whether she’s scandalized by the carnality, the sensuality, of so much art, she really stumps him with her matter-of-fact response! (See 4:15 of the video below.)

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INTERVIEW: “Why You Should Read Devotional Poetry in 2019” by Leland Ryken: In this interview with Collin Huber, Ryken cites three reasons why Christians should read devotional poetry, elaborating on each one: (1) devotional poets express our spiritual experiences, (2) it sets our affections “in right tune,” and (3) it will take us to corners of the spiritual life that might otherwise remain unvisited. He also discusses how poetry has shaped him; the obstacles that keep people from enjoying poetry, and how to overcome them; what makes poetry distinctive as a genre; and the prevalence of poetry in the Bible. “Mastering a devotional poem by a famous English or American poet requires nothing beyond what mastering a psalm requires,” he says. “If you can possess Psalm 23, you can possess Milton’s sonnet on his blindness.”

Leland Ryken is an emeritus professor of English at Wheaton College and the author or editor of some fifty books, most recently the anthology The Soul in Paraphrase: A Treasury of Classic Devotional Poems. Other titles of his include How to Read the Bible as Literature, The Christian Imagination: The Practice of Faith in Literature and Writing, The Liberated Imagination: Thinking Christianly about the Arts, and several volumes in the Christian Guides to the Classics series.

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STREET PERFORMANCE: Toccata and Fugue in D minor (BWV 565) by J. S. Bach: Bach’s Toccata and Fugue is probably the most famous organ work in existence. But last fall in Cologne, a group of four musicians, whose names I cannot find, performed it on two accordions, a violin, and a tuba! It’s uncanny how closely the collective timbre approximates that of an organ. The tuba grants sonority, and the other instruments contribute to the full-bodied sound.

This performance took place between Hohe Straße and Theo-Burauen-Platz in Cologne, Germany, but a few commenters on the video have reported witnessing near-identical performances in other parts of the country, so either this group travels, or the arrangement is circulating.

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SACRED ARCHITECTURE

I frequently encounter articles on or photos of contemporary religious architecture. Here are just two notable buildings I’ve come across recently—the first one, thanks to Michael Wright’s Still Life newsletter (to which you should subscribe!).

Chestnut Hill Friends Meeting (2013): When the Chestnut Hill Friends Meeting in northwest Philadelphia was building a new meetinghouse, they invited contemporary light artist James Turrell, himself a Quaker, to design one of his famous “Skyspaces” for the meeting room—that is, an aperture in the ceiling that’s open to the sky. From the beginning, Turrell collaborated with architect James Bradberry to achieve this permanent art installation; for example, Turrell wanted the aperture to have no perceptible thickness, so Bradberry and his team developed a sophisticated steel roof structure and “knife’s edge” opening. The achieved effect of paper thinness is impressive: when I first saw photos, I assumed the “sky” on the ceiling was just a painted patch! (Visitors have reported similar surprise.) Turrell calls this Skyspace Greet the Light, a reference not only to the light of the sun but to the Quaker doctrine of the “Inner Light,” God within.

Greet the Light by James Turrell
Chestnut Hill Friends Meeting Room, Philadelphia, Pennsylvania, featuring a permanent Skyspace installation, titled Greet the Light (2013), by James Turrell.

Greet the Light by James Turrell

The meeting room is open to the public, for free, on select days (more info here). Visitors are invited to bring a yoga mat, pillow, and blankets (when the retractable roof is open, the room is unheated) and to lie on their backs on the floor or benches. Silence is requested. Turrell’s installation also makes use of artificial light: over the course of fifty minutes or so, the vaulted ceiling is bathed in turn in four color variations—green, red, blue, and white—which augments the natural light projected by the opening.

View other Skyspaces by James Turrell at http://jamesturrell.com/work/type/skyspace/, and read Bradberry’s perspective on the project at Faith & Form.

San Bernardo Chapel (2015): Located in a wooded grove in Argentina’s Pampas lowlands, just east of Córdoba, Capilla San Bernardo (St. Bernard Chapel) was designed by Nicolás Campodonico. It was constructed using hundred-year-old bricks that had been dismantled from the rural home and courtyard that previously stood on the site. There is no electricity in the area, so natural light plays a huge role, especially in the chapel’s most unique feature: two perpendicular beams, independently suspended from a large exterior opening, cast shadows onto an interior wall, which glide progressively toward each other throughout the day, ultimately overlapping to form a cross (see time lapse). Campodonico said he had in mind Jesus’s journey to Golgotha with the transverse beam, which, upon arrival at the execution site, was attached to the vertical mount; it’s as if the passion is being reenacted daily through the shadows, he said. See more photos at designboom.

San Bernardo Chapel
Capilla San Bernardo (St. Bernard Chapel), La Playosa, Córdoba Province, Argentina. Photo: Nicolás Campodonico.

San Bernardo Chapel

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FREE ALBUM: Into the Light by Joel LeMaire: Fans of Josh Garrels, Iron and Wine, and John Mark Pantana will probably enjoy Joel LeMaire’s 2015 EP, which is about finding hope in the letting go and stepping into the unknown. Download your own copy from NoiseTrade, and read more about the meaning behind the songs on LeMaire’s blog.

 

Roundup: Short films on love and loss, Ashmolean Advent calendar, and more

ALBUM REVIEW: Hebrews by Psallos: My first published article for The Gospel Coalition! Psallos is a music collective led by Cody Curtis, and they’re doing amazing work—adapting entire New Testament epistles for folk rock band and chamber orchestra. (I reviewed the group’s first major album, Romans, two and a half years ago.) The track “Ex Paradiso” interprets John Piper’s favorite Advent text and implements a clever twist on Fauré’s Requiem. You’ll also hear a few other famous musical quotations, including, in track 3, “Angels We Have Heard on High”—again, with a lyrical twist—and a jarring rendition of “Nothing but the Blood.” Curtis is a wonderfully talented and versatile composer, writing in styles from bluegrass and Irish dance to slow hip-hop and hot jazz, all united under one overarching structure. The “Before the Throne” theme that’s developed throughout is truly sublime.

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ANNOTATED BOOK LIST: “Art and theology” books published in 2018: I put together this compilation for ArtWay, so the emphasis is on visual art. I’ve already featured a few of the books on the blog, like Wounded in Spirit and The Annunciation: A Pilgrim’s Quest, but there are over a dozen more, a mix of academic and nonacademic. These include, among others, a large reference work on early Christian art; books on individual artists William Blake and Keith New; two books by Jeremy Begbie, which emphasize the need for biblically grounded creedal orthodoxy in discussions on the arts; and two books on the modern illuminated Saint John’s Bible—one of which (Illuminating Justice by Jonathan Homrighausen) was just named among the top twelve theology books of the year by the Englewood Review of Books. Like Homrighausen, art historian Heidi J. Hornik also links art and ethics, in her book The Art of Christian Reflection. Created: Bridging the Gap between Your Art and Your Creator is probably the most unique offering; published by Likable Art design studio, it features sixty-two responses to the question “What are your first five words to the world of artists?,” and edgy graphic designs.

Art and Theology books 2018

Let me know if I’m missing any titles. For book lists from previous years, see 2014–16 and 2017.

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ANIMATED SHORTS

Lost & Found (2018): Widely lauded at film festivals since its debut earlier this year, Lost & Found is an endearing stop-motion film that chronicles a dramatic turning point in the relationship between two crocheted animal toys, a fox and a dinosaur. Since finding each other in the lost-and-found bin of a Japanese restaurant, it was love. But when the fox topples into a fountain, the dinosaur must sacrifice himself, yarn by yarn, to save her. Directed by Andrew Goldsmith and Bradley Slabe.

Bao (2018): This computer-animated short film, written and directed by Domee Shi and produced by Pixar, premiered on June 15 with Incredibles 2. It’s about a lonely, aging Chinese Canadian mother, suffering from empty-nest syndrome, who receives an unexpected second chance at motherhood when she makes a dumpling that comes to life as a boy. “I was that overprotected little dumpling,” Shi said in an interview; this project, she said, was her attempt to try to better understand her mother. One of the strongest powers of film, I’ve always thought, is its ability to incite empathy. (Update, 12/25: It appears that this film was being offered for free online viewing for only a very limited time, as it is now behind a paywall: https://www.youtube.com/watch?v=ypEuSSwB1Rk.)

Bao (2018)

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DAILY ART: 2018 Advent Calendar by the Ashmolean Museum: I know the season’s almost over, but it’s still worth checking out this free online calendar published by the Ashmolean, an art and archaeology museum in Oxford. Each day of December, they’ve been revealing a different winter- or Christmas-themed object from their collection. Entries thus far have included a bronze “reindeer” brooch from second-century Amiens, a decorated star tile from thirteenth-century Iran, a winter kimono with a design of snowy pines, an ivory netsuke in the form of a boy rolling a yuki-daruma (snowman), and a Delftware tile depicting three ships a-sailing. I dig this creative idea for public engagement! I’ve seen art museums do Pinterest boards, but this is the first time I’ve seen an Advent calendar.

Below I’ve reproduced the etching from Day 2, Epiphany, which F. L. Griggs made to celebrate the end of World War I one hundred years ago. A tall memorial crucifix stands atop a triple bridge, towering over roofless homes and illuminated by bright starlight. The Latin inscription translates as “The King of Peace whom the whole world desireth to see, hath shown His greatness. The King of Peace hath shown His greatness above all kings of the whole Earth.” Griggs’s son would die in World War II.

Epiphany by Frederick Landseer Maur Griggs
Frederick Landseer Maur Griggs (British, 1876–1938), Epiphany, 1918–19. Etching, 17.3 × 12.5 cm. Ashmolean Museum of Art and Archaeology, Oxford, England.

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WALTZING MARBLES: Kinetic artist Mark Robbins of DoodleChaos made a series of Rube Goldberg-like contraptions with blocks and magnets and set a marble rolling along it to Tchaikovsky’s “Waltz of the Flowers” from The Nutcracker, with other marbles later joining the dance. The synchronization is perfect! I got such a kick out of this.

Roundup: Sheku Kanneh-Mason, Hanukkah lamps, building walls, and more

NEW MUSICAL ARRANGEMENTS FOR ADVENT/CHRISTMAS

For cello and piano: “In the Bleak Midwinter,” arr. Sheku Kanneh-Mason: Sheku Kanneh-Mason is a multi-award-winning cellist from England who, since being named 2016 BBC Young Musician of the Year, has gone on to release, this January with Decca, his first full-length album (a chart topper), to perform as a soloist at the marriage ceremony of Prince Harry and Meghan Markle, and to serve, for the 2018–19 season, as a Young Artist in Residence at the Royal Liverpool Philharmonic. Time magazine recently listed him as one of 25 Most Influential Teens of 2018. He’s nineteen years old.

Stream on Spotify | Purchase on iTunes

In a recent recording session at Abbey Road Studios, Sheku performed one of his own arrangements with his sister Isata Kanneh-Mason, a pianist who, like him, is on scholarship at the Royal Academy of Music. Sheku is the third of seven siblings, and all of them are musical. They competed together in 2015 on Britain’s Got Talent and regularly perform together. See the CBS Sunday Morning featurette “The family that plays together.”

This piece is, in the truest sense of the word, awesome. Gustav Holst’s melody, which the duo plays straightforwardly for the first verse, is already beautiful; Sheku’s creative coloring of each subsequent verse, utilizing different playing techniques, elevates the song’s beauty even more. I could listen to this on repeat all day long. Oh wait. I have.

For jazz trio and voice: “Love Came Down” and “Comfort Ye,” arr. Deanna Witkowski: This fall, jazz pianist and composer Deanna Witkowski released recordings of two of her arrangements of Advent/Christmas classics: Christina Rosetti’s “Love Came Down at Christmas” and, just last month, “Comfort Ye,” whose seventeenth-century text (based on Isaiah 40:1–8) is by Johann Olearius, with a later English translation by Catherine Winkworth. Witkowski is on piano, Daniel Foose is on bass, and Scott Latzky is on drums, making up the Deanna Witkowski Trio. Sarah Kervin is the vocalist.

“Love Came Down” (gospel/funk) – Purchase track on Bandcamp | Purchase piano/vocal score

“Comfort Ye” (gospel/R&B) – Purchase track on Bandcamp | Purchase choral (SAT) / piano score

 

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ART EXHIBITION: “Accumulations: Hanukkah Lamps,” Jewish Museum, New York City, October 12, 2018–February 9, 2020: This year’s Hanukkah celebrations have just passed (December 2–10), but the Jewish Museum in New York is still running, for quite a while, its exhibition of eighty-one Hanukkah lamps from its collection of nearly 1,050—the largest collection of Hanukkah lamps in the world. The lamps in the current show represent four continents, six centuries, and a range of materials. I’m most drawn to the modern ones, which rethink traditional ideas about the ritual object.

Hanukkah Lamp by Moshe Mann
Hanukkah lamp from Russia, mid-19th century. Cast lead, each 2 × 13/16 × 13/16 in. (5.1 × 15.2 × 2.1 cm). Jewish Museum, New York.
Menorah Memories by Larry Kagan
Larry Kagan (American, 1946–), Menorah Memories, 1981–82. Welded steel scraps, 21 1/4 × 19 × 4 1/2 in. (54 × 48.3 × 11.4 cm). Jewish Museum, New York.
Tree of Life by Erte
Erté (Romain De Tirtoff) (French, 1892–1990), Tree of Life, 1987. Polished bronze, 15 1/2 × 12 1/2 × 7 9/16 in. (39.4 × 31.8 × 19.2 cm). Jewish Museum, New York.

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ART ACQUISITION: Christ as the Man of Sorrows by Quentin Metsys: On November 27 the J. Paul Getty Museum announced its acquisition of Christ as the Man of Sorrows by Quentin Metsys (alternatively spelled Massys), one of the leading painters in sixteenth-century Antwerp, known for his delicate modeling and crisp details. For centuries, the painting has been in a private collection, previously unknown to art historians; the Getty purchased it in a private sale. Its discovery and attribution expands Metsys’s oeuvre and is already attracting much attention from scholars. After a short period of conservation and technical study, it will go on view in spring 2019, exhibited to the public for the first time in modern history. It is the first work by Metsys in the Getty’s collection.

Christ as the Man of Sorrows by Quentin Metsys
Quentin Metsys (Netherlandish, 1466–1530), Christ as the Man of Sorrows, ca. 1520–30. Oil on panel, 19 1/2 × 14 1/2 in. J. Paul Getty Museum, Los Angeles. [pre-conservation]

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SONG: “Why We Build the Wall” by Anaïs Mitchell: Hadestown is a 2016 stage-musical adaptation of a 2010 folk-opera concept album of the same name, both by singer-songwriter Anaïs Mitchell. It invites audiences on an epic journey to the underworld and back, following two intertwining love stories—that of Orpheus and Eurydice and of Hades and Persephone. I was struck by the current US political resonances of the song “Why We Build the Wall,” which Mitchell says she wrote in 2006. In this A Prairie Home Companion broadcast, Mitchell sings as Hades, king of the underworld, leading her minions in an anthem that celebrates the importance of a nonporous border. She is joined by Chris Thile on mandolin and vocals and by the First-Call Radio Players. The song starts at 1:07.

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VISUAL MEDITATION: Mother and Child by Gilly Szego: In a recent contribution to ArtWay, Anglican vicar Jonathan Evens reflects on a work by UK artist Gilly Szego, the wife of a Hungarian refugee. Szego painted Mother and Child in response to the expulsion of South Asians from Uganda in 1972 following a wave of Indophobia. St.-Martin-in-the-Fields, one of London’s most prominent churches, displayed the painting that year, helping to raise awareness of these refugees’ plight and that of others around the world. The figures could easily be read as the Virgin Mary and Jesus, who were themselves displaced from their homeland.

Mother and Child by Gilly Szego
Gilly Szego (British, 1932–), Mother and Child, 1972. Oil on canvas with wood frame and barbed wire, 52 × 48 in.

Evens shares some words from Rev. Dr. Sam Wells, St. Martin’s current vicar:

Jesus is a displaced person in three senses. Fundamentally, he is the heavenly one who sojourned on earth. And it didn’t go well: as John’s Gospel puts it, ‘He came to what was his own, and his own people did not accept him’ (John 1:11). Then he finds himself a refugee in Egypt, his parents fleeing Herod’s persecution. Third, he spends his ministry as an itinerant preacher and healer, with nowhere to lay his head.

Meanwhile the story of Israel is one of migration from beginning to end. Adam and Eve leave the Garden; Noah and family sail away from destruction; Abraham follows God’s call; Joseph and family head down to Egypt; Moses leads the people back; Judah is taken into exile in Babylon; Ezra and Nehemiah tell of the return. None of these people were going on a package holiday: they were refugees, asylum seekers or trafficked persons. There is precisely one verse commanding the children of Israel, ‘You shall love your neighbour as yourself’; there are no less than 36 verses saying ‘love the stranger.’ Care of the alien is how Israel remembers its history with gratitude.